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Marc Heiremans
ercole barovier
Ercole Barovier (Italy, 1889-1974) Zaffiro, gemmata series for Ferro Toso Barovier-Vetrerie artistiche riunite, Murano, 1936 Free-blown colourless glass with enclosed raw colouring oxides. Applied colourless details H 29.5 x W 21.5 cm Provenance: private collection, Paris Literature: Dorigato A. Ercole Barovier 1889-1974, vetraio Muranese. Venice 1989; Barovier M. L’arte dei Barovier, vetrai di Murano 1866-1972. Venice 1993; Heiremans M. Art glass from Murano. Stuttgart 1993; Heiremans M. Twentieth century Murano glass, from craft to design, Stuttgart 1997 Exhibitions: XXa Biennale internazionale d’arte, Venice 1936; Ercole Barovier 1899-1974, vetraio Muranese, Venice 1989; L’arte dei Barovier, vetrai di Murano 1866-1972, Venice 1993; Twentieth century Murano glass-From craft to Design, Ghent 1996
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Artimo Fine Arts
enrico astorri
Enrico Astorri (Italy, 1859-1921) Saltimbanca, circa 1900 White Carrara marble H 122.5 cm (sculpture), total height with original column in Serpentine marble: 212 cm Signed Astorri E. co./Milano This exquisite marble sculpture showcases a young saltimbanca, or female street acrobat, and her monkey, poised atop an intricately wrought drum as they await their next performance. Her countenance radiates a playful innocence and every strand of her hair, carved with striking realism, cascades in a canopy of luxurious curls to frame her face. The girl's relaxed posture on the drum stands as a testament to the artist's mastery of the sculptors art and his attention to nuance in the playful inclusion of a cheeky monkey to accentuate the child's youthfulness and inherent sense of humour. The artist’s unparalleled artistry and expertise is evident in the drum's surface which boasts remarkable attention to detail. From the finely carved cords and the meticulously crafted escutcheons to the texture of the drumhead, particularly the stitching on an old tear, the precision of his work is exquisite. The texture of the girl's clothing and the intricate details of her physique are accentuated by a delicate play of light and shadow, bearing witness to the artist's deep anatomical understanding. The elegantly outstretched leg, lightly suspended in the drum strap, endows the figure with a dynamic, flowing quality which contrasts harmoniously with the tranquillity of her facial expression. The artist leads his audience on a contemplative journey of discovery full of the delight of uncovering subtle details such as the four classic card symbols. Astorri adds his characteristic touch of realism to this majestic piece through the skilfully crafted base. Representing a humble wooden crate resting on a finely sculpted yet rustic net, Astorri adds yet another layer of depth to this masterpiece. ASTORRI or ASTONI, ENRICO was an esteemed Italian sculptor. Born in San Lazzaro Alberoni on 10 March 1859, he passed away in Milan on 15 October 1921. Having initially studied in Parma before moving to Genoa, he ultimately honed his craft in Milan, where he took up residence at an impressively young age. His notable works include the monument to 'Vittorio Emanuele II' in Parma (1879), exhibitions in Turin (1884) featuring the marble statues 'La sérénade' and 'Attraction', and other significant contributions in Milan, Venice, and Bologna throughout the 1880s. His engagements extended to London exhibitions, and his prolificacy was evident in the latter part of the century, with extensive travels and commendations in Uruguay, Argentina, Russia, and beyond. His oeuvre can be found in public collections in Piacenza and Trieste.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) Invidia, Envy, one of the seven vices, circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 29.7 x 22.6 cm References: New Hollstein Dutch 26 1(2), first state Lex Antiqua, Antiquarian Bookseller
Herwig Simons Fine Arts
Sculpture representing Emperor Augustus of Prima Porta Italy, 19th century Bronze, roso levanto and nero Belgio marble base, smooth medal patina H 110 cm Signed by the foundry A. Röhrich Roma The original statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums.
Harold t’Kint de Roodenbeke
Leopold Survage (Moscow 1879-1968 Paris) Surrealist composition, 1916 Gouache and pencil on paper 43 x 31 cm Signed lower right Survage, marked with his initials LS, stamped with the artist's studio stamp and dated 16 Anne-Marie Divieto has confirmed the authenticity of this work Provenance: Felix Landau, Paris; private collection, Germany (acquired from the above circa 1970)
HELENE BAILLY Paris-Genève
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Au Cirque (Clown à la trompette), 1959-1968 Oil and gouache on paper mounted on canvas 63 x 47.5 cm Signed lower left: Marc Chagall and countersigned on reverse Certificate of authenticity issued by the Comité Marc Chagall Provenance: former Galerie Alex Maguy collection, label on reverse
Zebregs&Röell Fine Art and Antiques
Jan van Mekeren (Tiel 1658-1733 Amsterdam) 't Blommenkabinet Dutch floral marquetry cabinet-on-stand Amsterdam, late 17th century H 206 x W 171 x D 61 cm The present and V&A cabinet were both possibly ordered by Jens Wijbergen, a Dutch merchant living in Copenhagen. According to the van Mekeren archives, an order was placed by Wijbergen in 1700, probably for two cabinets, because the price was comparable to other orders for a pair of van Mekeren cabinets. The previous owner of the present cabinet, living in Austria, is a descendant of a patrician family from Riga. Some members of the Danish Wijbergen family are known to have moved to Riga in the early eighteenth century. The cabinet and all its oak bases have been retained in their original state. The whole cabinet is covered with a floral marquetry veneer of various kinds of wood, including walnut, holly, laburnum, boxwood, satiné rubané, amaranth, tulipwood, barberry, elm, sycamore, olive wood, padouk and kingwood. A modest rectangular cornice over a frieze inlaid with marquetry of various flowers over two doors with marquetry depicting urns on a plinth issuing bouquets of tulips, bluebells, cornflowers, marigolds, irises, peonies, daffodils, crown imperials, roses, lilies, anemones, chrysanthemums and carnations; several different species of butterflies and moths, including Arctia caja, swallowtails, garden white, meadow brown, and a brimstone butterfly, at least three different bird species, including turtle dove, thrush, and warbler, and a garden snail, Cepaea hortencis. Jan van Mekeren, born in Tiel 1658, moved to Amsterdam in 1687, where he was recorded as ‘kabinetmaker’ or ‘kistenmaker’. Before moving to Amsterdam, he had been in London in 1682, where he had asked to be admitted to the Dutch Reformed Church. He apparently wanted to stay for some time in London, presumably to learn the art of furniture marquetry under Gerrit Jensen. In 1687, he was back and mentioned as a guildsman, a member of the St. Josef guild in Amsterdam. He was successful as a cabinetmaker because, in 1693, he bought a house in the expensive Kalverstraat and extended his business into the wood trade as well. Since the headquarters of the VOC was in Amsterdam, the city was the foremost European market for exotic woods in the seventeenth century. Despite a 1624 regulation stipulating that members of the Amsterdam cabinetmaker’s guild offer their wares for sale in the guild’s shop, furniture makers in seventeenth and eighteenth century Holland hardly ever marked their work. However, thanks to the inventory after Jan’s death, there is a good list of his workpieces with thorough descriptions, prices, and the names of his clientele. The estate included many finished and unfinished pieces of furniture, an extensive collection of cabinet woods, and, most interesting, a long list of claims with names of the debtors and the amounts due. Most debtors were well-known Amsterdam patricians; only a few were from outside Amsterdam, including Jens Wijbergen from Copenhagen, who still owed Jan van Mekeren fl. 33,13. Because of a very close resemblance, this cabinet possibly is the pendant of the Van Mekeren cabinet now in the Victoria & Albert Museum (W.5:1 to 14-1986). There are minor differences in the flower decorations on the doors and sides of the cabinet. Still, a pair of Van Mekeren cabinets in Amerongen Castle, ordered as a pair, look less like each other than the present cabinet and its possible pendant in the V&A. Only six other floral Van Mekeren cabinets are known: one in the Rijksmuseum Amsterdam (inv. R.B.K. 1964-12), one in the Metropolitan Museum New York (1995, 371a, b), one in the Victoria and Albert Museum, one in Charlecote Park, Warwickshire, and a pair in Amerongen Castle, the Netherlands.
Kunsthaus Kende
Ryuhei Sako (Japan, Okayama Prefecture 1976) Mokume-gane Mizusashi, 2021 Silver, copper, shakudo, shibuichi, kuromido H 16.5 cm x Ø 18.5 cm Provenance: the artist's property Works by Ryuhei Sako form part of the inventory of the Victoria & Albert Museum, London, as well as of the Metropolitan Museum of Art, New York
Klaas Muller
dutch school ca 1610
Dutch School Portrait of a Lady, circa 1610 Oil on panel, oval format H 62 cm To this day, no one has been able to identify the creator of this work. Based on the style of the clothes, we can date the work to around 1610 (the period when Rubens made his famous portrait 'The Honeysucle Bower' (circa 1609, Münich, Alte Pinakothek) showing himself together with his first wife Isabella Brant). Altough stylistically our portrait is closely related to Rubens double portrait, based on attire and jewellery, we should rather situate our portrait in the Northern Netherlands. The outstretched hairpin was meant to deter 'the evil eye'.
Galerie Marc Maison
Gilded plaster statuette by Pierre Braecke (Belgium, 1858-1938) surmounting a sideboard made by Victor Horta (Ghent 1861-1947 Brussels) Four original gilded plaster statuettes by Pierre Braecke surmount the pair of sideboards This is part of a interior decor made of a suite of three paneled rooms designed by Victor Horta for a private owner in Kortrijk and including two fireplaces, a pair of sideboards, a stained-glass ceiling and windows, a screen with period fabric Circa 1903 Mahogany, oak and maple, bronze, marble, american glass, fabric: moiré damask Surface: approximately 80 sq meters, H 3.80 m Provenance: Kortrijk, Belgium
Dr. Nöth kunsthandel + galerie
erich heckel
Erich Heckel (Döbeln 1883-1970 Radolfzell/Bodensee) Chinese artists, 1928 Watercolour, gouache, Indian ink, brown and grey wash on paper 54.5 x 70 cm Titled, signed and dated lower right: Chines. Artisten, Heckel 28 The Erich Heckel Foundation in Hemmenhofen has confirmed that the watercolour is authentic and has been registered in the archives of the estate. Certificate of authenticity by Hans Geissler and Renate Ebner from January 2014 Provenance: acquired directly from the artist in 1930 by Arthur Drey, Wiesbaden and Frankfurt. Drey (1890-1965) was a playwright and writer and an early collector of German Expressionism; thence by descent
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Van Herck-Eykelberg
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) La Grande Cravate, 1969 Gouache on paper 109 x 23 cm Signed and dated Registered at the Calder Foundation under the archive n° A24180 Literature: Alexander Calder, Château de Tours, 2008, exhibition catalogue, ill. p. 181 Exhibition: Alexander Calder, Château de Tours, 6 June-19 October 2008
Secher Fine Art & Design
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) The Cobra bird, 1950 Patinated bronze sculpture H 42 x W 51 x D 34 cm Signed and dated: K. Appel 1950 H. C. Edition of 6 plus 2 HC which this is one of the two Provenance: collection Karel van Stuijvenberg, Caracas, Venezuela Literature: Karel Appel, The Complete Sculptures 1936-1990, p. 242; Exhibition catalogue, El movimiento Cobra en la colección Karel van Stuijvenberg, Museo de Arte Contemporáneo de Caracas, Venezuela, 1984, cat. n° 23 ill. pp. 44-45; Exhibition catalogue, Cobra Liège 93, Coll. Karel P. van Stuijvenberg, Musée d'Art Moderne, Liège, Belgique, 1993, ill. p. 67 Exhibitions: Cobra en la colección Karel van Stuijvenberg, 1984, Museo de Arte Contemporáneo de Caracas, Venezuela; Cobra, 9 avril-31 mai 1993, Musée d'Art Moderne, Liège, Belgique
De Zutter Art Gallery
asger jorn
Asger Jorn (Denmark, 1914-1973) The Awakening II, 1953 Oil on panel 152 x 121 cm This work is included in the Catalogue Raisonné under n° 799 Provenance: R. Dahlmann Olson, Copenhagen Exhibitions: 1953, Copenhagen, ‘spiralen’; 1964, Kunsthalle Basel, 'Asger Jorn-Dodeigne'; 1965, 'Jorn', Stedelijk Museum Amsterdam; Louisiana Museum of Modern Art, Humblebaek, 'Jorn'; 2001-2023 long-term loan to the CoBrA-museum Amstelveen
Artimo Fine Arts
jean de bay
Jean Baptiste Joseph De Bay (Nantes 1802-1862 Paris) Le Génie de la Marine, 1832 White Carrara marble, finely carved H 101 x W 48 x D 85 cm Signature engraved on the boat's anchor: JEAN DEBAY Executed in Rome in 1832 Provenance: 1832, Rome; 1832 (June, Paris, Exposition at Petits-Augustins; 1833, Paris, Exposition at Salon de Paris; 1833, Mr. Hoppe Collection, Amsterdam; 1833-2010, private collection Literature: S. Lami (1916). Dictionnaire des sculpteurs de l'école française au dix-neuvième siècle, Paris, Librairie Ancienne Honoré Champion Edouard Champion, tome 2, pp. 126-132; A. Lenormand (1981), La Tradition classique et l’Esprit romantique. Les Sculpteurs de l’Académie de France à Rome de 1824 à 1840, Rome, Edizioni dell'Elefante, 1981 Exhibitions: 1832, Rome; 1832 (June), Paris, Exposition at the Petits-Augustins; 1833, Paris, Exposition at the Salon de Paris This masterful work entitled 'Le Génie de la Marine' is the work of the talented French sculptor Jean Baptiste Joseph De Bay. An emblem of marine allegory, the sculpture depicts a daring Cupid, bravely sailing against the currents on a delicate shell-shaped craft. In a posture of determination, Cupid steers his boat with an oar while seated on a folded sail, which envelops an ink at his feet. This representation of the Cupid's determination to follow his own course and speed without wishing to stop may allude to the persistence of love against all odds. Designed in Rome in 1832, this exquisite marble sculpture was later exhibited, albeit unfinished, at the Petits-Augustins in Paris. It was finally presented in all its splendour at the Paris Salon the following year, where it attracted the attention of the famous Amsterdam banker, Monsieur Hoppe. Jean Baptiste Joseph De Bay, better known as Jean De Bay, was born in Nantes on 31 August 1802. The son of a renowned sculptor and a pupil of Baron Bosio, De Bay quickly established himself as an emblematic figure of nineteenth-century French sculpture. After training at the École des Beaux-Arts in 1820, where he won numerous awards including the prestigious Prix de Rome, the sculptor succeeded in establishing himself in the art of bas relief and ronde bosse. Equally at ease working in marble and bronze, Jean De Bay contributed to numerous national projects, notably for the Louvre Palace and the Hôtel de Ville in Paris. Several of his works are also preserved at the Musée de Versailles. Many of his works can be found in various French museums, testifying to his artistic genius. This great sculptor died a few years later at his home in Paris on 7 January 1862.